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Jul 1, 2025
I just think it's crazy that High Fantasy Anime peaked in 1990 and only in the past decade have we started to get shows that begin to match the quality of Record of Lodoss War. Like don't get me wrong, Dungeon Meshi and Frieren are modern day classics, but there is nowhere near enough fantasy, whimsy, and trope-y cheese in those shows throughout their 25 episodes compared to what Lodoss gives us in a measly 13. Record of Lodoss War has enough material and plot packed into one season that it could easily be 2, maybe even 3 seasons if everything was giving time to
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breath.
Now, Record of Lodoss War isn't perfect by any means. Most of the characters aren't very complex, the storylines are compacted and squeezed into its episodes, and the world doesn't quite present itself in a really thoughtful or deep way.
Parn is a very boneheaded protagonist, not really maturing or developing in a visibly significant direction. We only really see him "mature" when the plot needs him to, and even then it's rather questionable what actually changed about him in the end. Deedlit is a textbook tsundere, and that is all she really brings throughout most of the show. It's only at the end that her character really changes, and even then its a turn for the worse when she becomes the damsel-in-distress that needs saving. However, both of these characters perfectly embody the stereotypes of the Hero and the Love Interest, and that can be seen as a strength when the goal is to be as purely High Fantasy as possible.
While Parn and Deedlit leave some things to be desired, Record of Lodoss War redeems itself through its supporting cast. I can't name them all, but every side character isn't wasted or overstays their welcome. Etoh is a great sidekick, and thankfully weaves in and out when needed to ease the tension. Slayn and Ghim provide the basis for one of the most compelling B-plots for a fantasy story that I've seen, and Ghim's tale especially deeply moved me. The villains aren't to be forgotten either. Ashram is a great villain, and although his story starts off rather dull, it quickly becomes complex and thoughtful once you move into the second half of the show. Wagnard is just a purely evil guy, no redemption or complexity needed (thankfully). Beld's ties with Fahn are extremely interesting, and I'd love to see their history explored further since we don't get a whole lot of info apart from the present day events.
What about the story itself? Too short for the scale of it, and a bit too much going on in my opinion. Like I said at the beginning, there is a lot going on in Record of Lodoss War. Whether it's the forces of good clashing against the forces of evil, slumbering ancient dragons awakening and wreaking havoc, or dark magic rituals to resurrect a slain god, it is somehow all present. Oh, and did I mention that its all packed into 13 episodes?! To say this show has "fast" pacing would be an understatement; this show zooms through its material, often to its detriment. There are many moments where you just want to bask in the fantastical goodness that is on screen, only to either have the episode abruptly end or for the show to immediately move on.
That is really the big point you can take away from watching Record of Lodoss War; its so eager to tell its grand tale and show you all of the awesome moments that nothing really resonates with you after watching it. It's a masterclass in assembling High Fantasy elements (thanks in no small part to the DnD-like campaign its roughly based on), but is there a grand thematic narrative presented to us like in Lord of the Rings, or Game of Thrones, or even modern High Fantasy Anime's like the aforementioned Dungeon Meshi or Frieren? No, not that I could find at least.
Record of Lodoss War is, at its core, a very generic fantasy story that doesn't bring a whole lot new to the table. It's strength lies in its execution, not in its subject matter. So if you're thinking about watching Record of Lodoss War, do not expect grand revelations or thematic complexity. Instead, disengage your critical thinking cap and just sit back to enjoy 13 episodes of (for the time) fairly well animated fight scenes, fantastical world-building, and a good, old-school tale of good prevailing over evil.
Reviewer’s Rating: 9
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Apr 3, 2024
Metallic Rouge is a near-perfect example of attempting to iterate on established ideas without really understanding how those ideas initially worked. It's quite frustrating that everything this show needed to become a sci-fi staple was present, but ended up being so badly mishandled. With a framework of androids, two-tiered societies, interplanetary civilization, and classic mecha-esque action scenes, Metallic Rouge just could not fit everything together within its allotted thirteen episodes. The ideas the show wanted to explore were adequately introduced, but felt utterly restrained to a plot that couldn't decide what type of story it wanted to be. I think the best way to highlight
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my issues with Metallic Rouge come down to the fact that it feels like two shows (or even two seasons, but I'll come back to that) brutally stitched together at the halfway point.
The first half is a traditional "Do Androids Dream of Electric Sheep"/"Blade Runner" type story concerned with the mystique and intrigue of investigating the dynamic between a select group of androids that have "escaped" the protocols binding them to humanity's service and the communities that they have around them. Its nothing that Philip K. Dick or Ridley Scott haven't already explored in their respective novel/film, but the show actually does a decent job of injecting no ideas into the premise. The select androids in question are more developed and well rounded than it's inspiration did, assigning more depth and humanity to these characters that we can attach to. Even the role of the titular character is more-or-less successfully iterated upon; with Rouge herself being a "nean" (read: android), we can move past the ambiguity of whether or not the "neans" are human (and thus whether they deserve to be a part of our society, yaddy-yadda) and onto more novel, nuanced ideas. Both of these concepts are great additions to a premise that has already been thoroughly explored.
Where the show derails then, is once those initial premises are either tossed entirely or revert back to their original form. I won't reveal the mid-season "twists" (yes there is more than one) that disregards everything the show had going for it, but I will comment on what it does to the show itself. Initially, these twists seems well done. Characters are called into question, a handful of previous build ups are delivered, and we get a new set of parameters and entirely new context that the show is now working within. The issue is that all of this completely disregards what the first half of the show had set up. The intrigue dissipates as everyone lays out their general motivations, we find out what two sides there are in this conflict, and the logic that we'd been operating under up until this point goes completely out the window. New characters are introduced that flagrantly disregard the established rules. Existing characters take actions that seem completely out of left field from what we had seen them do before. The plot itself seems to think that it wasn't doing enough, and therefore started throwing out changes and twists left, right, and center. To top it all off, the show then does another backtrack/change around episode nine and ten, trying to go back to what it was doing in the first six episodes. The inherent issue with the second half of the show is that it attempted to take a shortcut in introducing and developing new ideas and characters, and ended up with a half-baked mess that it then tried to glue back to the initial episodes.
Is there anything good about Metallic Rouge then? Yes, quite a lot actually, but it's overshadowed by what I've said above. Visually, the show nails a perfect blend between the gritty noire-like atmosphere of 80's sci-fi and the bright bashful colours that Studio Bones is great at. The character designs achieve a similar result, capturing modern, minimalist attires and then contrasting them against the beautiful hand-drawn mecha suits. And the animation, oh man. I could go on and on about how well-animated the fight scenes are, but this review is already starting to drag on. Let's just say that the action scenes aren't anything to scream "sakuga!" at, but they meet every mark you'd expect (or want) them too.
Which brings me to the most frustrating part about watching Metallic Rouge: all of the ideas and concepts that are introduced are not inherently bad. The only area in which the show fails in is how it tries to stitch everything together. Every other aspect reaches an acceptable, if not excellent standard of quality. It's just that the narrative is so under-developed that it's hard to appreciate everything around it. Most people could sit down with the full list and imagine a show that utilizes all of them in one way or another. There just wasn't enough time or care put into assembling those ideas into a cohesive, well-rounded thirteen episode show. With an additional season, maybe even two to really deliver on the impact the show was trying to impart, Metallic Rouge could have cemented itself as a 21st century anime sci-fi staple. Maybe it wouldn't have achieved the icon status that Neon Genesis Evangelion, Akira, and Ghost in the Shell have, but it would have held it's own as a solid entry into the genre. Instead, we get thirteen episodes of rushed story development, half baked ideas, and forgettable characters that served no purpose other than dragging the story across the finish line. If you like sci-fi stories as an aesthetic, you'll more than likely appreciate Metallic Rouge. But if you need a well constructed narrative to anchor your viewing experience, there's no avoiding the shortcomings of this show.
Reviewer’s Rating: 5
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Jan 30, 2024
Cowboy Bebop is the coolest show you'll ever watch. Between the wide variety of music that you'll be hard pressed to find in any modern show, the hidden complexities the cast of characters slowly show us, and a healthy dose of punchy action scenes that never carry on for longer than it needs to, you should always be able to have (at least) one moment in each episode where you can't help but smile. Granted, it's not a modern day masterpiece; the show clearly displays it's age, and the episodic nature can dissuade people from getting attached. But if you are willing to stick with
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it for the full 26 episodes, you will end up with a cast of complex characters that you can't help but adore.
First, we have to talk about the music. I'm a bit of a music nerd myself so I can't help but ramble about the genres of music and the distinctiveness that Cowboy Bebop brings. In contrast to today's anime, Cowboy Bebop throws you straight into the deep end of a pool filled with blues, bluegrass, country-lite, and rock music. While the Japanese music scene wasn't as conglomerated in pop back in the late 90's, idol culture was still the dominant sound. Thus, the blues/rock mixture is a welcome deviation compared to what we get in today's day and age. You'll have a tough time trying to find a modern day anime that is not only able to escape J-pop entirely, but also has such a well-composed and impactful score. Of course, I'd be remiss if I didn't mention "Tank!", the opening track. As my friends can attest, I'm not one to sit through anime openings more than once. But I'll be damned if I didn't sit through "Tank!" 26 times because it's just so. damn. good.
The core four cast of Spike, Jet, Faye, and Ed we're the most surprising aspects of the show for me. Going into Cowboy Bebop, I expected a tone and cast similar to Space Dandy, the spiritual successor to Cowboy Bebop. However, I was pleasantly surprised at the gritty, nuanced perspectives that are developed over the course of the show. Spike goes from being a cool-presenting shallow action hero to one of the most tragic characters I've ever witnessed. Faye somehow turns from a quirky fan service character into the heartbreaking story of a person rediscovering who they once were. And while they aren't given as much screen time, both Jet and Ed offer wonderfully complex stories and motivations that are excellently hidden behind their stereotypes.
Finally, the action scenes. I think the beauty in Cowboy Bebop truly lies in it's action, more specifically it's fight scenes. In today's shounen dominated climate of action scenes so flashy you could induce mild epilepsy. simple hand to hand combat is often overlooked or is simply appropriated into flashy action messes. Cowboy Bebop takes a completely different approach, and allows every character to simply brawl it out. Guns are still fair play, but you won't be thrust into a mega shootout extraordinaire. Hand to hand combat is key and usually lay at the base of any fight scene within the show. Its use is what grounds the show, makes it not only believable, but also relatable in a strange sense. You can understand and believe that Naruto channels his chakra into a swirling ball of magical energy, but can you really relate to that? Meanwhile, you can understand, believe, and relate to every single fight that Spike gets himself in because everything is completely tangible. Every punch or bullet is easily recognizable because (not that we would ever actually encounter it) everything in completely based in our normal reality.
So what are the downsides? Well 26 episodes can be a tall order for some. Especially with it's episodic nature, the consistent change and seemingly disconnected nature of the show can be off putting. But if you pay close attention, you'll find that most of the episodes do connect in a very linear and plain fashion. Especially with the last string of 5 or 6 episodes, the show slowly builds itself up to the conclusion in a natural, albeit indirect, way. Spike's past is explored at various points throughout the show, but never in enough detail to actually let you know the full extent. It's the same with Faye, and even Jet. You aren't given the details outright, instead you have to either take shots in the dark or wait until everything is eventually explored and shown. And man, if it isn't a great journey to experience along the way. Don't expect a grand finale at the end either, the ending is rather tame and honestly a little rushed. But it fits the story, and I can't fault it for that.
9/10 overall score, Cowboy Bebop is an anime you'll inevitably have to watch. I can imagine that back in the late 90's/early 00's, this was what people considered peak anime.
Reviewer’s Rating: 9
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Oct 19, 2023
23 years, 5 seasons, and a lot of misses later, FLCL is over. It's a bittersweet moment for me since I managed to find FLCL at all the moments when I really needed something that spoke to what I was feeling. As anyone who understood the original FLCL can attest to, moving from adolescence to young adulthood is a truly terrifying time. Fitting then that the last two entries, Grunge and Shoegaze, come the closest to recapturing the original's message of "It's going to be okay."
Now don't get me wrong, the original FLCL is untouchable compared to the four sequels, but I still feel like
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there's a little bit of unique FLCL-ness in the sequels. Many rightfully hold the original series as the best, but often discount the other four seasons for not being as well composed as the original. Given that the original FLCL was broadcasted all the way back in 2000, I think that the disappointment is misplaced. The people who made the original grew up in a dark and cynical time in Japan, while those who made the newer seasons likely never felt an entire world falling out from underneath them. I'd argue then that instead of just being a cash-grab sellouts of FLCL (even if that is likely the reason it was created), Alternative, Progressive, Grunge, and Shoegaze offer new perspectives and a whole new set of uncertainty that kids and teens struggle with today. And since the series is about the awkward, gross, terrifying moments that happen in adolescence, I can't help but feel that if the newer FLCLs were released without the expectation to live up to the original they'd be decently received shows.
For what it's worth, Shoegaze does begin to recapture some of the magic that the original imparted, although I can agree that it falls well short of how wildly consistent the original was. Three episodes is no where near enough to tell the scale of story that Shoegaze tried to present, with the last episode playing fastball with character development, backstory, action, and an ending all at once. Which is more than I can say for both Alternative's and Progressive's meandering attempt at six episodes. I do have to give Shoegaze credit for leaving the zany changes in artstyle, countless innuendos, and Haruko for the original, and instead giving us a straightforward story that naturally finds humor, heartbreak, and joy along the way.
The characters are Shoegaze's best aspect, with a simple coming of age tale between two highschoolers seeming to be ridiculously tame for FLCL, but works so well when you contrast it to it's direct prequel, Alternative. In fact, I'd go so far as to say that I think Shoegaze manages to both redeem and satisfyingly conclude whatever Alternative was trying to say. Adding on to the fact that this is the only "true" sequel to a FLCL season, the inclusion of Alternative's cast of characters is a pleasant touch instead of a weight that would drag the show down like I expected it to.
I've given FLCL Shoegaze a 7/10 on my list, but a 6/10 in this review since I have two different scales that I use. That being said, I do think this is a good show and worth your time, if only for the fact that it's supposedly the last FLCL to be made. If you managed to make it through Alternative and Progressive to get to Grunge and Shoegaze, the last two will undoubtedly be better viewing experiences. Even though it doesn't perfectly emulate the one-in-a-kind experience that the original presents, Shoegaze presents it's own, tamer experience that I think anyone with an open mind can come to truly appreciate.
Reviewer’s Rating: 6
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